Ridley Scott’s Exodus: Gods and Kings, falls vastly short of its hype, expectations, and potential. It’s clearly a secularized version of Exodus. Rather than just dismiss Moses as sort of a fanciful, but unbelievable Santa Clause of Judeo-Christian mythology, Scott is intent upon deceiving the masses into believing the Biblical story was simply an exaggerated version of accidental historical events. It pales in comparison and falls vastly short of Cecil B. DeMille’s 1956 classic epic, The 10 Commandments. There’s simply no excuse for this diluted, watered down, and jaded version of one of the most famous events in modern history.
Next, Scott will try to convince us the moon landing was a fake, and Neil Armstrong accidentally landed in the Mojave desert, bumped his head, and NASA made the whole thing up to cover up an embarrassingly awkward moment and knot on an astronaut’s head. As other critics noted, Scott dwells on inventing mundane details about Moses daily life in order to remake him as an ordinary fellow, even suggesting he imagined talking to God portrayed as a young child after hitting his head. Then, Scott glosses over the supernatural events in fractions of a second, suggesting they were simply incidental, accidental, and coincidental acts of nature. In other words, the plagues were natural events that took place at the right place and time, the Hebrews escaped, and then recast the naturally events as an elaborate God-inspired tale.
Scott intentionally engages in a series of psychological mind-games, introducing each miracle as an innocuous naturally-occurring event, exploding them into full-blown miracles, and then switching back to reality to leave the moviegoer with the shadow of a doubt as to their authenticity. It would be one thing if Scott had based his secularized tale upon a scientifically-based theory of Exodus, but Scott seems to have completely made them up and pulled them out of thin air in order to confuse the masses, blind, and lead people astray.
Like Da Vinci Code, designed by Ron Howard to debunk Jesus as a myth of Roman Catholicism to further the cause of Godless humanism, Scott now joins his Hollywood trickster in a bait-and-switch CGI-filled theatrical production designed to demystify, secularize, and debunk the infamous Exodus tale. Even the characters were unauthentic, as Scott’s movie could have easily passed for Mel Brooks’ History of the World Part 3.